Another two black & white photos from the depths of my archive.
These scenes were captured with my old Leica 3A nearly 40 years ago.
Technically they aren’t great photos. But these distilled what I saw in the Bronx.
The view inside the Forham Road subway station was made when we were on our way downtown—to Manhattan. Can you hear the roar of the train as it approaches? I can.
Tracking the Light Posts Daily
Here’s another pair of photos from ‘Super Tuesday’—November 26, 2019.
Fellow photographer Mike Gardner and I mopped up a few nice photographs on the north-end of the old Boston & Albany Ware River Branch.
These images were made on the spur that connects the branch with the Wildwood Reload on the far side of Route 32 at South Barre, Massachusetts.
I made both images using my FujiFilm XT1 with 18-135mm zoom lens.
November sun; when it shines, it’s brilliant!
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Yesterday I scanned this 20-year old slide of an eastward CSX freight passing the signals at CPRJ—Rotterdam Junction, New York.
I’d exposed the slide using my first Nikon N90S on Fujichrome Sensia RA slide film.
I made great use of the Nikon N90S, and when I wore out the first one, I bought another.
Oddly, when reviewing my slides, I find that my work with the N90S wasn’t as refined as the photographs that I made with either my Nikon F3 (with which I used the same lens pool as the N90S) nor my Contax G2 rangefinder that had its own lenses.
I can’t really explain this phenomena, but I wish I’d recognized it sooner.
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It was April 26, 1984 when my brother and I embarked on big tour of the New York City Subway in Queens and Brooklyn.
I made this view from the front of an outbound train on the Astoria Line. On the middle track was an RR train heading toward Queens Plaza and beyond. This was during the era when the subway was still covered in grafitti.
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Using my Leica 3A, I made this view from a NYCTA city bus in The Bronx circa 1980.
I don’t have any notes at all from this trip.
In all likelihood, I was using a 35mm Nikkor lens with a screw-mount designed for the Leica 3 series cameras. This was a favorite of mine at the time because it required an adjustable external viewfinder that made it easier to compose than the tiny window on the camera body.
The primary subject of the photo was the subway train on what I think was the White Plains Road elevated line. At right is my brother Sean. We were traveling with our grandmother from Fordham Road toward Co-op City as part of a shopping trip.
This photo has been quietly hiding, unprinted and unseen in a glassine negative sleeve for nearly 40 years! (Try that with your favorite phone photo.)
Tracking the Light Looks Back!
November 26, 2019 was one of those very productive days.
Following my earlier successes last Thursday with New England Central at Stafford Springs, and CSX at Palmer and West Warren, Mike Gardner and I went to breakfast at Girly’s Grille in Palmer, timing our departure so that would could intercept Mass-Central freight on its way up the Ware River Line to South Barre.
We caught up with the train at Gilbertville, one of my favorite locations along the old Boston & Albany branch.
I’d spotted this puddle in the parking lot near the station, which made for an excellent reflective surface to picture the passing train.
Key to making this image is the adjustable rear-screen display on my FujiFilm XT1, which among other features has a leveling bar.
Tracking the Light sometimes Scores on Thursdays in November!
It was about 1980, when I made this interior view of an R10 subway car during a trip with my father around New York City. Pop thinks this was on the 8th Avenue line in Manhattan. It was one of three photos I made of the Subway that day .
The cars were not air-conditioned and the open fans intrigued me.
This was in that unsavory era on the Subway when the subway cars were decorated inside and out with graffiti.
Exposed on black & white film with my old Leica 3A 35mm camera.
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CSX Q264 is a unit autorack train that terminates at East Brookfield, Massachusetts.
On Tuesday, November 26, 2019, I was waiting at CP83 in Palmer for fellow photographer Mike Gardner to arrive. To the west, I could hear the distant roar of a heavy eastward train.
Long ago I learned to use my ear. Listening, and knowing what you are hearing can make the difference between finding a train and missing one.
Mike pulled in and I signaled to him there was in eastbound on the diamond (crossing at Palmer between New England Central and CSX’s Boston Line).
I was delighted because low rich November sun illuminated CP83 and there weren’t any automobiles in the parking lot in front of the Steaming Tender restaurant (that occupies that the old Palmer Union Station).
As Q264 rolled through, I said to Mike, “quick, jump in! The train is limited to 30mph at the diamond, we’ll get him down the line.”
And we were off in hot pursuit!
Up to West Warren, a recent and long-time favorite location of mine for railroad photography. We pulled over where the Boston Line is adjacent to Route 67, and I exposed another sequence of photos.
That was two trains, on two lines in less than two hours, but it was only going to get better! Tuesday was a very good day!
More to come!
Tracking the Light Posts Every Day, sometimes twice!
November sun and a little elevation is a good start.
I’d spotted CSX’s Q022 rolling across the Palmer diamond as I departed the old union station, where I’d pulled in to see if anything was happening!
(No scanner and poor timing on my part!)
Not a bother. I drove post haste west on Route 20 and Route 67 to West Warren.
CSX’s Q022 had a decent size train, but with nearly 9,000 hp leading in the form of a pair of GE Evolutions, the train made good progress climbing eastward through the Quaboag River Valley.
I had time to park at West Warren, Massachusetts and walk briskly to the South Street Bridge, an old standby vantage point where I’ve made countless railroad photos in the last 35 years.
I exposed these views using my Lumix LX7.
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Earlier this month, I traveled with some friends to Shannonbridge, County Offaly, Ireland to photograph the Bord na Mona’s narrow gauge operations.
Working with Kodak Tri-X in a Nikon F3 with 105mm lens, I made this view of a laden train crossing the River Shannon.
I processed the film using a twin-stage (split development) process: presoaked in Kodak HC110 mixed 1-200 for 5 minutes; then Ilford ID1 mixed 1 to 1 for 7 minutes 15 seconds at 68F with gentle agitation every minute for 10 seconds. After stop bath (30 seconds), twin fixer baths of 3 minutes each and extensive rinsing, I toned the still wet negative using a Selenium batch mixed 1-9 for 8 minutes 30 seconds.
In addition to this traditional black & white photo, I also exposed digital photos using my Lumix LX7 and FujiFilm XT1 cameras. Color and black & white, film and digital, yes I have most of formats covered.
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In recent days, New England Central’s Willimantic, Conn., to Palmer., Mass., turn running as job 608, has been back on its daylight schedule, which sees it reaching Stafford Springs, Connecticut at about 730am.
Thursday (November 21, 2019), I made a morning project of intercepting the train and photographing it on its northward run.
At the Massachusetts-Connecticut state line, the railroad crests the top of a divide known as ‘State Line Hill’ and begins its descent toward Palmer. Just north of the top of the hill the tracks cross Route 32, which is where I set up to make my photo.
This view was made using my FujiFilm X-T1 with 90mm prime telephoto.
I aimed to make a split scene, where the highway and railroad cross at the center and direct the eye to opposite sides of the frame.
The subject is the train, which has just caught the sun at the intersection of the state boundary.
The second view in shows the locomotive better, but is a less evocative image.
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Back in October 1984—35 years ago— I made this nocturnal view of Central Vermont RS11 3606 at the Palmer, Massachusetts yard.
With my Leica mounted on a tripod, I exposed this view using a mix of existing light and electronic strobe for fill light. I’d work with a large Metz flash that allowed me to control the quantity of light being emitted. To soften the blast, I’d squelch the emission to about 1/4th and wrap the flash head in a white trash bag. I’d then make a series of blasts from different angles while leaving the shutter open.
My old Leica 3A had a ‘T’ setting that would leave the shutter open indefinitely. An exposure such as this would require about 30 secs to a minute for me to make the blasts.
This was one of at least four frames that I exposed that October evening so long ago! My notes from the day have vanished, much to my disgust, as I tended to keep records of all my photography.
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I was sifting through some old 120 black & white negatives yesterday and found these photographs from a morning’s photography along the old New Haven Railroad in Connecticut from June 1986.
I started the morning in South Norwalk, then moved down to Westport.
Most of the photos from the morning were exposed on Kodachrome slide film, but I made a few select images on Kodak Tri-X using my father’s Rolleiflex Model T using a 645-size ‘superslide’ insert to obtain a rectangular crop.
Most interesting to me now are the views of Amtrak’s eastward mail train behind AEM-7 904. This carried a group of baggage cars at the back including some from VIA Rail.
While I have detailed photographic notes from the day, what I don’t have recorded were my thoughts on the experience at the time. This was one of several similar trips I made to former New Haven electrified territory in the summer of 1986.
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Last February the Connecticut River was swollen.
I made this telephoto view of a northward Amtrak shuttle (running from New Haven, Connecticut to Springfield, Massachusetts) using a Nikon F3 with a 105mm lens and loaded with Fuji Acros 100 black & white film.
I like the way the Amtrak train glints in the morning sun.
To maximize tonality and detail, I used a split-development process, first soaking the film in a very dilute mixture of Kodak HC110, then using a more concentrated mix of Rodinal for primary development.
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Stark winter light suits black & white photography.
Back in January (2019), photographer Pat Yough and I made a day of photographing New England Central between White River Junction, Vermont and Leverett, Massachusetts.
Among the trains we photographed was freight 611, the Brattleboro to Palmer turn.
I made these views near Northfield, Massachusetts on Fuji Acros 100 black & white film using a Nikon F3 with 50mm lens.
To maximize tonality and detail, I used a split-development process, first soaking the film in a very dilute mixture of Kodak HC110, then a more concentrated mix of Rodinal.
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I really wasn’t expecting what I saw! (Click on Tracking the Light to see the whole story and photos).
It was the second time in as many months that I arrived by train at Ballinasloe, County Galway.
In September, the reason for my arrival was to photograph the Steam Dreams excursion operating with Railway Preservation Society of Ireland engine number 4.
See: http://briansolomon.com/trackingthelight/2019/09/14/steam-on-the-midland-at-ballinasloe/
Last week, Ballinasloe was to be the jumping off point for the latest of my Bord na Mona adventures (to be covered in Tracking the Light in the future).
Irish Rail’s Galway line wouldn’t be an operation characterized by variety. Except for the very occasional excursion, the vast majority of movements consist of the common 22000-series Intercity Railcars (ICRs).
So, when I positioned myself at the Dublin end of the down platform, my intent was to document the ICR that I’d arrive upon with Ballinasloe’s handsome Midland Great Western Railway station.
Why was the up-home signal green? We’d just crossed the up-Galway at Athlone.
As the 0735 Dublin to Galway train pulled away, I was startled and surprised to see a pair of 2800-series railcars ready to depart up-road. What was this?
After I made my photos, it occurred to me that this was the weekly equipment transfer for the Ballina Branch. Ah, yes. And perhaps, I should have known.
I’m happy that I had camera in hand to picture this relatively unusual movement. Sometimes, even when you think you know what to expect, something sneaks up and surprises you!
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The impressive cable-stayed suspension bridge at Dundrum is one of my favorite places to picture Dublin’s LUAS Green Line.
A week ago, I timed my arrival at Dundrum to coincide with the passage of the Vodafone advertising tram that wears a colourful temporary livery.
There was perhaps 10 minutes left of sun in the Irish winter sky.
Photos exposed using my Lumix LX7
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Literally and figuratively.
Friday, it was officially announced that Ireland’s Electrical Supply Board (ESB) intends to close the Lough Ree and Shannonbridge power stations at the end of 2020.
This doesn’t bode well for the Bord na Mona narrow gauge systems that exist largely to supply these stations with fuel.
A couple of weeks ago on a visit to the Lanesborough system I made this sunset view of an empty train returning to the bog for reloading.
I’ve made dozens of trips over the years to photograph Bord na Mona’s narrow gauge railways. While in recent years, it’s been understood that these railways were on borrowed time, I still find sad that they will soon be without their primary traffic.
These are fascinating and wonderful railways with lots of charm and photographic potential.
In 2020, I hope to continue photographing the systems around Lanesborough and Shannonbridge, as well as some of the other Bord na Mona narrow gauge railways.
Tracking the Light Posts Daily.
During October’s Cobh Rambler tour, I made these views at Cork’s Kent Station on Kodak Tri-X black & white film.
The tour was operated by Railway Preservation Society of Ireland in conjunction with Irish Rail.
Kent’s curved Victorian train shed makes for a fascinating venue to photograph a modern railway in action, while the inclement weather on the day translated well with the traditional media.
I processed the film using a customized split development process consisting of Kodak HC110 presoak mixed 1-200 followed by primary development using Ilford ID11 1-1. The negatives were scanned using an Epsom V500 flatbed scanner with some minor final adjustment using Lightroom.
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Last month while traveling on Railway Preservation Society of Ireland’s Cobh Rambler, I exposed two rolls of Kodak Tri-X using a Nikon F3.
This week I processed and scanned the film. Black & white film suited the gloomy dark and very wet weather.
Among my favorite images from the day were photos I made of my friends and railway staff on the trip.
Thanks to everyone at RPSI and Irish Rail who made this trip a rewarding experience and a photographic success!
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Tuesday last week, my arrival at Sallins, County Kildare by Irish Rail suburban train was merely a jumping off for a much more productive photographic endeavor.
See yesterday’s post, SUBURBAN TRAINS PASS AT SALLINS.
So Tuesday last week, I met fellow photographer Aiden McDonald outside Sallins and traveled by road for another visit to Bord na Mona’s Lanesborough narrow gauge network. This was my fourth foray in 2019 photographing on this wonderful industrial railway, and my second in less than a week.
My first visit to Lanesborough was more than six years ago and of all the Bord na Mona systems, it is my favorite.
We lucked out and met the empty ash train immediately on crossing the line near Derraghan More, County Longford.
It was bright and sunny and followed the train all the way back toward the Lough Ree Generating Station.
This was just the warm up and for the next six hours we were treated to almost non-stop action on one of Ireland’s coolest little railways.
Sadly this is an Indian Summer for the system, both literally and metaphorically. Word to the wise: time is running short.
These photos were made using my FujiFilm XT1.
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Last Sunday, 27 October 2019, I traveled to Blackrock College in suburban Dublin to attend the South Dublin Model Railway Club ‘Model Railways and Hobbies Exhibition’.
Working with my Lumix LX7, I made a few dozen photos of the trains, displays, presenters and attendees. Below is a selection.
Often when photographing model railways I work with comparatively slow shutter speeds. In some circumstances this allows for greater depth of field, in others it helps convey a sense of motion.
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Tonight is Halloween.
Last night I processed a roll of Rollei 80S Retro that I exposed last summer.
The timing was apropos.
I made these images using my Nikon F3 with f1.8 105mm lens. My cousin Stella was visiting from the West Coast and we were exploring spooky graveyards in Western Massachusetts.
You may wonder why I waited nearly four months to process the film. Was it an infusion of Irish spirits and pucas that lent inspiration?
No, it was actually simpler than that. My preferred developer for Rollei 80S Retro is Rodinal and in Dublin I keep a healthy volume of this antique solution on hand. So I brought the film with me from America for processing in Dublin. However, distractions and writing have kept me occupied for weeks and I just got to souping the film last night!
I have an adjusted recipe for this very unusual film that yields stunning results.
Rollei 80S Retro will provide superb tonality, super fine grain, and a deep rich black when processed properly.
I’ll be posting more view to my Instagram account over the coming hours and days. See my photos on Instagram at: briansolomon.author
Tracking the Light looks to the Dark Side Tonight!
Last week it was dull and cloudy in Dublin. I was on a quest to find a bag for my vacuum cleaner, and was wandering shops and shopping centres on Dublin’s North Side.
During this quest, I called into the Hugh Lane art gallery on Parnell Square.
Now, I had no illusions of finding a bag for a Henry Hoover there. Instead, I wanted to gaze upon the paintings. You know, as you do.
Entering one of the galleries, a painting of a bridge immediately arrested my gaze. However, rather than merely wandering up to it, I first looked at the selection all around it.
This one painting stood tall among the rest. As it turns out it was a Monet of London’s Waterloo Bridge.
According the description, Monet had rented accommodation near the bridge, and painted this one bridge more than 40 times. Now that impressed me.
Also, in this painting, Monet opted to portray a dull, misty morning, when the combined effluence of smoke, steam, and pollution mixed with the mist to diffuse the light adding depth and mystery.
A few days later, I was in Drogheda, County Louth, where I aimed to picture Irish Rail’s immense Boyne Viaduct.
No mist and smog for me this day. But one bridge image tends to inspire another.
So here we have the down Enterprise Dublin to Belfast. (But that’s not the train I aimed to picture in Drogheda).
Next time in London, I’ll endeavor to photograph Waterloo Bridge. Although I doubt I can do it justice.
Oh, just in case your curious, I never found a bag for my Henry Hoover! These seem to be very elusive items in the Irish Republic, apparently.
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Saturday, 26 October 2019, Railway Preservation Society of Ireland ran a series of trips using Great Northern Railway (Ireland) compound 4-4-0 number 85. on old home rails.
This presented ideal opportunities for photography.
Too often steam locomotives are operated mid-day in high light, which present poor conditions for photography. Saturday’s trips benefitted from low late October sun and cool conditions.
I set up at Laytown where late afternoon sun illuminated the viaduct over an Irish Sea estuary.
The clouds were a nuisance, with dark shadows covering the scene until moments before the locomotive charged northward across the bridge toward Drogheda.
I exposed this view using my FujiFilm XT1 with 27mm pancake lens.
Thanks to everyone at Irish Rail and RPSI for making Saturday’s steam trips a success!
See: https://www.steamtrainsireland.com
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I was driving from Madison, Wisconsin to Roanoke, Virginia on October 25, 2002.
I stopped at Cincinnati to make photographs of Fellheimer & Wagner’s art deco masterpiece: Cincinnati Union Station, a railway station inspired by Helsinki’s Main Station.
This was among the photos I made on Fuji Acros 100 using my Contax G2 rangefinder fitted with the super wide-angle flat-field 16mm Hologon. I featured this station in my book Depots, Stations & Terminals, published by Voyageur Press.
Seventeen years ago! Gosh!
Tracking the Light is like the Energizer Bunny!
Twenty eight years ago on this day, my brother Sean and I made a survey of the former PRR electrified mainline south (timetable west) of Philadelphia.
Rather than literal interpretations, I was aiming for something more interpretive.
I’d bought a roll of Kodak Ektachrome 160 slide film. This featured a ‘tungsten balance’ designed to work with incandescent lamps and so featured a very cool color temperature, which accentuates the effect of dusk.
My notes from the day are nearly 4,000 miles away, so I can’t tell you which suburban platform on which we were standing when I made this time exposure of a rapidly approaching Amtrak train in the blue glow of the evening.
What I remember most from that evening was a sky filled with migratory birds, chirping, singing and squawking as they flew by.
Tracking the Light Posts Everyday, sometimes more than once!
For me the Lumix100 poses an imaging quandary.
It is an excellent tool. The camera is compact, well-built, packed with features, and has a superb lens that contributes to stunning image quality.
My difficulty with the camera is fitting it into my arsenal of imaging tools.
The LX100 lens range is lacking compared with my other cameras. It is fine for photos exposed in the ‘normal’ range. Its zoom spans the range from 24 to 75mm. In my younger days that range would have been enough to offer me virtually everything I needed for my photographic vision.
I’ve been spoiled by wider and longer lenses. These days, I want to push the range of view just a little further. I often see images that are beyond the range offered by the LX100.
That says more about the way I photograph than about the LX100.
As readers of Tracking the Light are aware, I carry a Lumix LX7 with me just about everywhere. While the LX100 is unquestionably a better camera, the LX7 suits me better for three reasons: 1) it is very compact and light weight, so fits nicely in my jacket pocket 2) it is comparatively inexpensive so when I wear it out or destroy it, I’m not out of pocket for a huge replacement sum. 3) The LX7’s zoom lens covers my vision more closely.
That said, I’m now coveting an LX100 because it is such a fantastic image making tool. Also, because its narrow zoom range limits my comfort zone, it will force me to make better photographs and consider compositions that otherwise I might not see.
But that is just speculation now. Last week, I gave back the borrowed LX100 to Denis McCabe who had lent it to me. I made about 500 photographs with the camera during the week I had it in my camera bag. As I write this Denis and his LX100 camera on are a grand adventure to the far side of the globe.
I’m still sifting through my LX100 images. There’s many more.
Tracking the Light Explores Photography Everyday!
Last June, while working with the Conway Scenic Railroad I exposed this view of fresh green foliage at the Frankenstein Trestle on the line over New Hampshire’s Crawford Notch.
I was working with an antique Nikon FTN Nikkormat with a Nikkor f1.8 105mm lens.
I like the ‘fast’ 105 because it allows for very shallow depth of field at its widest aperture, while offering exceptional sharpness on the area of focus.
This effect is especially appealing as a contrast to many modern digital systems that offer razor sharp images with great depth of field in most circumstances. Focus, like other qualities, may be most effective when applied judiciously.
I exposed this image on Ilford HP5 400ISO 35mm black & white film. I hand processed the film. After a presoak with very dilute HC110 for about 5 minutes, I introduced my primary developer, Ilford ID11 developer mixed 1 to 1 with water, for 6 minutes and 15 seconds at 70F. By raising the temperature slightly and using a relatively dilute solution I controlled contrast while increasing shadow detail.
Tracking the Light Posts Daily.
A few years back I tested a LUMIX LX100 digital camera.
I very much liked the camera, but had just invested in a FujiFilm XT1.
I’ve recommended the LX100 to several photographers.
This week, Denis McCabe, who acted on my advice purchased an LX100 and has been getting very good results with it. He has lent me his camera for further evaluation.
On Friday, 11 October 2019, I traveled by Irish Rail to Portarlington and exposed these photos as a test.
More tests and analysis to follow!
Tracking the Light aims to post Daily
One September 2019 morning on Germany’s Rhein, clear skies were obscured by a thick mist hugging the river. As the warm rays of the rising sun graced the tops of the nearby hills, the mist cleared, which made for some cosmic lighting.
I exposed these photographs digitally using my FujFilm XT1. But I also exposed a few colour slides using a Nikon F3 with 105mm lens.
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The view from Dublin’s St. Stephen’s Green Shopping Plaza The Food Village food court is among the best vistas to picture LUAS trams in the city centre.
This offers an elevated view of the St Stephens Green prominently featuring the Fusiliers Arch on the Grafton Street side of the park.
I like the view because it was featured on an early 19th century hand-tinted postcard the also included trams, albeit those of the previous lineage. (The Dublin city centre was without trams from the 1940s until 2004 when LUAS commenced operations).
The S-bend in the tram route seen here was opened as part of the Cross City Green Line extension a couple of years ago.
The other day I met fellow photographer Mark Healy for serious image making discussion over a cup of tea while waiting to photograph some of the LUAS advertising trams that now prowl the Green Line route.
I exposed these photos using my Lumix LX7. The challenge of this location is obtaining a satisfactory image through the window glass. I used a very wide aperture, which offers low depth of field to minimize the effect of the glass.
Tracking the Light is a Daily railway-photography Blog.
Often railroad photos take in the BIG picture.
Here I’ve focused tight and honed in on the details to tell the story.
My subject was The Cobh Rambler on Saturday 5 October 2019.
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Sometime, long ago, back in film days someone concluded that three-quarter sun made for the most desirable lighting conditions for locomotive photos.
While its true that in many instances low, three-quarter sun will yield a pleasing result, this is but one lighting solution, and not always the most effective for every setting.
Whoa! WAS that blasphemy?
In September, we hiked into a vineyard south of Sankt Goarshausen, Germany. Blue skies and high thin clouds gave us soft directional lighting with an elevated view of the Right Bank line on the Rhein. In the distance a castle loomed above the river-side Sankt Goarshausen village.
Opting for the dark side presented better contrast that helps visually distinguish the train from the landscape. In this situation because the setting is so visually complex and compelling it helps to make the train stand out, since the train was intended as our subject.
Sure, we could have visited this place earlier in the day, but would that have yielded more effective images?
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This place presented a composition and lighting challenge.
To obtain a satisfactory and balanced telephoto view that emphasized the classic tunnel portal at DB’s Bettunnel near Sankt Goar, we found that midday sun offered effective lighting.
A trailing view of an IC passenger train places the locomotive at the right side of the tunnel portal.
However, the sloped angle of the DB class 101 electric had a tendency to reflect the sunlight in a less than ideal way.
I compromised in post processing by adjusting the highlight values in the camera RAW file, to bring it more in line with the rest of the scene.
Tracking the Light Posts Daily.
After photographing Railway Preservation Society of Ireland’s private charter crossing the Liffey in Dublin, and catching the train with the TESCO painted Red Line tram at Gardiner Street, I walked briskly to make more photos of the train arriving at Connolly station.
Steam locomotive number 4 was unhooked and sent to Connolly shed, while Irish Rail 082 took its place to bring the RSPI Cravens across to Inchicore Works.
I made these photos using my FujiFilm XT1.
The camera battery was flashing red and my storage card was alarmingly low on pixels. Where were my film cameras? Not with me at Connolly.
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